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Electric Six - "Streets Of Gold"

23/11/2021

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Most bands, however successful, are just as partial to a cheeky cover track, as you and the lads are partial to a cheeky Nando’s. Mind you, like Nando’s own scale of spicy sauces, some covers might hit the spot, some will make you want to shit ON the spot. Just recently I applauded DAVE GAHAN’s hauntingly beautiful cover of METALLICA’s “Nothing Else Matters”...I will never NOT be in love with HIM’s cover of “Wicked Game”...and JOHNNY CASH’s “Hurt” is simply tear-jerking...in a good way.  

On the flip side then, you have, say... MARILYN MANSON, who’s covers mostly sound like the rejected pile, from the already rejected pile, from BTEC talent show auditions from Wheretheactualfuckistan, that weren’t even so bad they were amusing. Sweet dreams are in fact made, when you are NOT butchering the EURYTHMICS thank you Mazza. 

This then brings us to ELECTRIC SIX. The Detroit alt./experimental rockers, while renowned for their 2003 hits “Gay Bar” and “Danger! High Voltage”, are recording and touring machines. Dick Valentine and co almost never stop, especially Dick...Dick just keeps on going...*Cough* excuse me. Honestly though, they’re in double digits with their albums and almost live on the road.  

While they throw a cover of THE OSMONDS hit “Crazy Horses” into the mix occasionally, their only real cover of any notoriety came when they released QUEEN’s classic “Radio Gaga”, which stirred up some mild controversy...other than that, they’re as original as they come. So, it’s surprising then, that 2021 finds the dance commanders releasing “Streets Of Gold” via Cleopatra Records...an entire album’s worth of covers! The trouble is with Electric Six...what the hell can we expect? Let’s find out... 

The album opens up with a version of “Don’t Change”, which was originally a 1982 hit for Australian rockers INXS...and musically it’s kept somewhat loyal to the original. It’s got the synth driven opening and characteristics, and remains upbeat; it’s a fun little track 40 years on, though Dick’s own vocal twang gives the track a slightly different feel. It’s the kind of track you can easily see the band having fun with live, and it’s a fairly decent start. Next up, we have a cut from one ROKY ERIKSON...and last time we crossed paths with him, it was courtesy of GHOST covering “If You Have Ghosts”, which was in fact superb. Here, we have a take on his 1981 effort “Click Your Fingers Applauding The Play”, and the rough-edged psychedelic-tinged, classic rock frankly suits Electric Six perfectly. The soft gallop of the guitar and especially the lyrical structure benefit Dick’s own style, and a cover such as this simply makes sense. Even if the high notes are questionable...like, Barry Gibb stepping on Lego... 

For a band as eccentric as Electric Six, it's easy to assume there must be some properly deranged, obscure cuts here making up this compilation of covers, but to be fair they’ve included some big names. ALICE COOPER gets a nod with a cover of “No More Mr. Nice Guy” and again, tonally, it’s fairly true to the original instrumentally. It retains a classic, semi-glam rock aesthetic and the simplicity of the track enables the band to just, have fun performing a track they enjoy. We get a track from KISS; “Strutter”...and I just want it to be known, they are the ultimate catfish band. You look at Kiss, and expect something like, VENOM...something hellish and visceral, but then you remember only Gene Simmons looks demonic, the others just look like a bunch of face painted spandex-clad twats. I digress, this version is better. Enough said. 

Some questions DO have to be asked though...as we get Dick Valentine wrapping his vocals around “Little Lies” by FLEETWOOD MAC, which is arguably one of the sweetest songs ever written. There are soft vocal harmonies with delicate synths layered throughout, giving an almost childlike innocence, that are balanced by some adequate guitar surges through the chorus, but Dick hasn’t got the voice to REALLY pull this off. Sure, it’s fun, and you can’t not enjoy this song, but sadly this isn’t a patch on the original. Our lead single then...”Yah Mo B There”...by JAMES INGRAM sounds like, the most, recherché of all possible options given the aforementioned, but it works! The classic, synth driven, funk-led R’n’B leans heavily towards Electric Six’s general output. A tad annoying, don’t get me wrong, but it works. 

Overall, this collection of tracks is equally interesting as it is enjoyable. There are certain tracks that the band have adapted well, and some that don’t quite sit right with their established sound, but it makes for an adventure as much as it does a listen. It gives you more of an idea of where Electric Six formed; as the funky, jazz-fuelled, glam rock is a style they’ve been fine tuning and owning since those days of “Fire” etc. More of a bonus treat for the long-term die-hards than anything else; it’s got its moments but there are several more important records to start with if you are new to Electric Six. Either way, the band continue life on the road in the UK this December, and, yeah...yah mo B there...[5] 

WWW.ELECTRICSIX.COM
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Tarja: Singing In My Blood

8/11/2021

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Earlier this year, Finnish symphonic metal titans NIGHTWISH re-released a remastered edition of their standard bearing album "Once", which I had the privilege of reviewing for the team over at ALL ABOUT THE ROCK (Read the review here).

The bands most commercially successful album to date, it not only cemented their  status as genre leaders, but it proved without a shadow of a doubt, that TARJA TURUNEN was one of the most talented and important presences in modern metal. The classically trained operatic vocalist set the benchmark and raised the bar for symphonic metal vocals, and she won over legions of fans during her tenure at the bands height in popularity.

On November 4th, Tarja released "Singing In My Blood"; a specially crafted, illustrated collection of stories and memories of her career to date, recollecting her favourite memories and milestones in her musical career, where she pens her own thoughts and feelings on her musical upbringing, her growth as a vocalist, performer and fame, courtesy of some soul-searching and reflection. With not one but two hardback editions, including a signature edition, which features exclusive prints, it's one for both collectors and die hard Tarja / Nightwish fans, and will certainly complete many collections. Order yours now via the link button below at WWW.TARJABOOK.COM!

Tarja says: ‘Singing is in my blood. Ever since I was a little girl, I have enjoyed performing ... but not being able to be on stage in 2020 I spent a lot of time looking through photo albums, seeing all those happy scenes of childhood, growing up and making music, getting to know my fans and travel the world recording and performing, having fun; those memories fill this book’.

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WWW.TARJABOOK.COM
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Various Artists - "The Metallica Blacklist"

14/9/2021

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Image Courtesy Of Rolling Stone
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Iconic...legendary...these are words quite often thrown around haphazardly nowadays. Like, you're at the bar and your mate goes for a round and comes back with a cheeky packet of pork scratchings, so you call him a legend. No, he’s not a legend, he’s a bell-end he could have grabbed two packs the selfish twat. I digress. When it comes to something like music, or art in general, it takes something special to garner such praise, truly, and today’s review is a real reflection of that. Today we’re going to be talking about METALLICA. 

Now, love them or hate them for whatever reasons y’all elitist metal heads have (Personally bar a couple of tracks, I’m not a massive fan of Metallica, or their style of metal in general but that’s just me) you can’t deny the impact they’ve had on heavy music since day one. Their early discography helped lay the foundations for the evolution of metal into thrash and beyond, churning out some of the most important releases of the whole genre...until in 1991, when they released arguably THE most important; “The Black Album”. 

Many OG fans felt like it was a bit of a departure from their raw origins, incorporating softer melodies and more clean vocals (James Hetfield has gone on record to say on this album he finally became a singer) and that while still Metallica, and as strong of an album it technically was, they had sold out. Sounds absurd right? “The Black Album”, already following “...And Justice For All” simply cemented them as THE biggest metal band on the planet, and in terms of the history of metal, it’s one of the foremost standard bearers. In 2021...that still holds true. 

Thirty years after its release, it’s still talked about and revered for its influence and importance, and to celebrate the albums anniversary, Metallica have decided to cherry pick a plethora of artists from all walks of life, to highlight just how influential the album has been. The artists got to pick a song of their choosing from “The Black Album” and record a cover, for what is now known, as “The Blacklist”. SIXTY-SIX versions of the songs you all know and love...in one compilation. Let’s dive into this, black hole if you will, and highlight some the more, diverse recordings on offer. 

Luckily for us, the tracks aren’t all thrown together mish mash like the running order was decided by a washing machine spin-cycle, they are categorised by specific tracks, and to start us off, we have 7 renditions of “Enter Sandman”. Let’s be honest as far as heavy metal anthems go, this is up there in the top tier; a rock club floor filler guaranteed for beer fuelled singalongs...so what do we get here? ALESSIA CARA is first up and the “Scars To Your Beautiful” songstress wraps her husky, soulful pop vocals around the track, accompanied by THE WARNING. As a performer she brings a fresh take on the vocals and this is SLICK; a very strong start here. As the track progresses, we get the heavier instrumental factors and it becomes something say, FLORENCE & THE MACHINE would drop on an EP... actually that sounds fantastic somebody make that happen.  

Sticking with “Enter Sandman” we get some interesting variations...we get WEEZER dropping a version that wouldn’t be out of place on their own “The Teal Album” compilation...a pretty straightforward cover, bar a couple of guitar tweaks and a subtle nod to “Buddy Holly”. It’s fine. RINA SAWAYAMA then takes things up a notch with a surging, riff-heavy almost techno-inspired piece of production with bold, assertive vocals, becoming possibly one of the tracks better covers ever. Occultist theatrical rockers GHOST then drop arguably the most creative cover, as they ditch the iconic intro, and delve straight into a piano-led lyrical opening. They have their distinct style, and the holy-tones soon shift into gear as the guitars erupt, and it’s an interesting take on the classic. 

Next up we have “Sad But True” and I have to say, the best version here by far comes courtesy of country artist JASON ISBELL & THE 400 UNIT. The country/rockabilly twist with the twangy guitars gives the Alabama-born artist a unique take on the track and it really works. South Korean outfit YB offer a more up-tempo rock recording, which, while fine audibly, highlights the global reach Metallica have. 
“Holier Than Thou” takes up the third portion of the album and this kicks off with BIFFY CLYRO and to be fair, they produce quite a quirky, synth-based recording but the novelty sadly wears off as boy does this rendition drag out...you took over five minutes to do a track less than four minutes long. Absolutely no need lads. Spoiled it for yourselves. THE CHATS and OFF! Both drop simultaneous punk-rock covers which, while decent in their own right are put too closely together and it depreciates both their values. COREY TAYLOR then showcases why he is one of the most prominent voices in modern metal as he tears through his own hard rocking rendition; quite raw but with it’s own throw-back, thrash-metal vibe going on. 

Back to more ballad-based territory we find ourselves at “The Unforgiven” and CAGE THE ELEPHANT kick us off with an incredibly stripped back, indie/acoustic cover and the hushed, smoky vocals allow for an even more intimate listening experience, which suit the song quite well really. DIET CIG keep the indie aesthetic going but the New York duo bring a brasher recording to the table and it works just as well. Some of the compilations better covers come here however, as we depart far from what you would perceive Metallica to be, courtesy of FLATBUSH ZOMBIES Feat. DJ SCRATCH. We get a proper old-school hip-hop beat laid in front of us with some classic flows layered around the soft melodic vocal chorus from James Hetfield. This works surprisingly well as a mash up to be fair, it’s impressive. This can also be said for HA*ASH, as the Louisiana-based duo deliver a wonderfully relaxed harmonic clean vocal cover with acoustic, Latin-pop aesthetics giving the track some extra flavour.  
It’s safe to assume that, the most popular tracks will get the most covers as they are going to get the most attention, and as good as the aforementioned have been, if you think of “The Black Album”...you think of “Nothing Else Matters”. The ballad that sent Metallica into the mainstream stratosphere, here, gets a whopping 13 renditions...it’s essentially an album worth of tracks within itself! There’s a LOT to get through here so we’ll focus on some highlights...and we have to start with the one that got all of the attention...starring MILEY CYRUS with ELTON JOHN on piano. Originally scoffed at for her “Wrecking Ball” era output, she’s come on leaps and bounds as a vocal performer, having worked alongside everyone from DOLLY PARTON to BILLY IDOL, and credit to her here, she wraps her smoky voice around this superbly. It’s big, it’s bold, it’s confident, it’s passionate and it WORKS. Forget jumping on bandwagons and all that gubbins, you need to appreciate Miley here as a performer, this is a respect earner for even the die-hards.  

On the other end of the scale then, we get a cover I was myself personally looking forward to, courtesy of DEPECHE MODE vocalist DAVE GAHAN. His sombre rendition is practically haunting as he croons his way through the track, taking it to whole new levels of emotional torment, yet while undeniably sad, its equally undeniably beautiful; I love this. On a side note, it’s rare I highlight instrumentals but, German pianist IGOR LEVIT offers up a sincerely sweet solo piano rendition which could quite easily pass for a lullaby. 
The rest of the compilation consists then of, non-single tracks and while not necessarily less-popular, they are lesser known to mainstream audiences...deeper cuts if you will. These, naturally get sparse recognition in comparison, but they aren’t without their talking points. French vocalist IZIA does well with “My Friend Of Misery”, offering a fuzzy, up-beat electronic-tinged rock offering, despite the slightly awkward chorus transition. IMELDA MAY drops by for a quick cover of “The God That Failed” that has quite a deep, bluesy swagger, while TOMI OWO wraps her soft, husky vocals around a delicate version of “Through The Never”. It’s still got guitar presence but it’s got more of an R’n’B flavour. 

Naturally...there are over sixty tracks here, you must be thinking, surely there has to be some absolute crap littered throughout the compilation? I have to say, you would be absolutely correct. JUANES idea of “Enter Sandman” is like, he is first trying to learn THAT riff for the first ever time...it is SO jerky and dissected it detracts from the feeling of the song entirely. ROYAL BLOOD’s cover of “Sad But True” is no more than a straight-up cover with little additional character, which results in a pretty boring listen quite frankly. CHASE & STATUS with BACKROAD GEE drop this god-awful mumble-rap, grime-inspired take on “Wherever I May Roam”...I suggest you roam as far away from this as physically possible, and then defy physics and roam further. This is abysmal. Sadly, another disappointment comes courtesy of THE HU. The Mongolian throat-metal traditionalists deliver a cover of “Through The Never” in, I GUESS their native language, with some native instrumentation. It gives the track some interesting character with fresh sounds, but you lose all of the sing-along qualities here. This might be nit-picking but, it’s lacking in it’s own ways. 

Overall, over the course of this, playlist essentially, there is a noticeably distinct lack of rock and metal, and really that’s probably by design. The artists that have contributed that have kept to these genres, haven’t really brought anything new to the table and those covers in question have been really quite run of the mill...it’s the diversity of artists that Metallica were looking to showcase and they have undeniably delivered on that front. A lot of these vocalists have injected fresh ideas into thirty-year-old classics by utilising their own inspirations, backgrounds, ideas and flavours, creating a genuinely creative cocktail menu with just twelve original songs to work with. Metallica fans might not appreciate this 100%, most still living in their tight stonewashed jeans, patch-laden battle jackets and downing warm cases of beer...a bit like GNAR KILL fans I guess, (James Hetfield is Hell Boy confirmed) but for anyone curious about the legacy of this album, and have nearly six hours to kill, it’s worth a listen...I guess? [7] 
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GavTheGothicChav: The Best Of 2020

3/1/2021

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What is there to say about 2020, that hasn't already been said? Within these reviews over the past nine months I've light-heartedly made reference to issues like Covid-19 and such, but let's not detract from the seriousness of the whole situation. As a calendar year, 2020 was one of the most difficult, frustrating, upsetting and confusing in recent history, and this isn't strictly down to Coronavirus...this time last year we were on the brink of World War 3! Politics has been a shambles, social injustice has been rife, the divide in both community spirit and the classes seemingly continues to grow, and generally speaking, the world is a complete mess. Luckily we've had music to keep us going, if not to keep us sane, and for that at least I am grateful. The images above showcase my personal highlights of 2020, grouped in categories covering pop, metal, EP's and general favourites, and it shows that, despite the state of the world, music flourishes. Music and the arts are SO important, as many of us learned during national lockdown, and we need to appreciate the people who dedicated their lives to creating that art SO much, because times like these prove we'd be lost without them. 

I mean, just looking at the cover art above, it's been as diverse a year as any. MILEY CYRUS embraced her inner rocker on her new album, having collaborated with the likes of BILLY IDOL and JOAN JETT. Groups like STEPS made an unexpected comeback showing they've still got it in an ever changing pop industry, as did MELANIE C. From a metal standpoint, PARADISE LOST prove they just get better with age, as they not only released one of the albums of their career, they also found themselves in the UK Top 40! Imagine that! Goth metal on Radio 1! It gives hope to newer acts like SOUTH OF SALEM who delivered a truly stunning debut album, and certify themselves as ones to watch for sure. There have also been plenty of superb EP's released over the past twelve months...especially VV. Ville Valo surprised everyone with his 3-track EP and HIM fans rejoiced at the new material, I for one certainly cannot wait to hear more from him. CHRISTINE AND THE QUEENS put emphasis on the art as their whole EP was turned into one big choreographed music video which was impressive, while I personally made some brilliant discoveries in the form of LUCIA & THE BEST BOYS and JACKIE. 

Finally then, my official albums of the year, and I was spoiled for choice to be fair. THE BIRTHDAY MASSACRE always deliver, they never release a bad album and I'm looking forward to catching up with Chibi on the rescheduled tour dates. MARILYN MANSON dropped his best album in years much to my delight, having found his last couple a little bit boring (Sorry Mazza!), GREY DAZE tugged at the heartstrings with a touching tribute to the late Chester Bennington, releasing unheard material from his pre-LINKIN PARK days, reminding us all how much we'll miss such a talented, brilliant human being. NINJA SEX PARTY on the other hand proved they remain one of the funniest groups around with their bonkers writing style, comedic lyricism and story-telling and wholesome attitude. Yes, 2020 has been a bit of a mess to say the least, but we've still got music, and as fans of that music, we've still got one another, and as a community, we need to hold on to that. With that said, below, is my official GTGC Spotify playlist of 2020, with 40 hand-picked tracks spanning the above records, and it is dedicated to my very good friend Scot 'JD' Rees, who is sadly no longer with us in body, but will forever be with us in heart and spirit. Whether he had a Jack & Coke in his hand, or his guitar, he was always laughing at something, and his energy for enjoyment was infectious. I will miss you Scot, and this compilation is for you. X
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ROCKDOWN: A Fuel Rock Club Benefit Compilatoin

3/4/2020

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This isn’t a review as such…but more of a call to arms if you will. Now, while I’ve touched on the current Coronavirus pandemic in recent reviews in a predominantly light-hearted manner, or at least trying to make light of the situation to maybe try to boost morale, it is in so many aspects in fact, a VERY serious situation. Businesses are shutting down, people are losing their jobs, people are losing their means to support their families, hell; people are fucking DYING! In such a time of need for many in an age of advanced communication and technology, some of us have never felt so far apart and, given the unprecedented nature of this global pandemic, it’s a hard realisation.

While the government (Here in the UK at least) is doing what it can to help certain businesses cover expenses while the country is on lock down, not everyone is fortunate enough to benefit from such subsidies and this is where both you and your local music venues come in. Small and independent venues have had a hard enough time over the last couple of years as it is, with several having to close doors up and down the country for financial reasons, or for dodgy housing development projects etc, so the last thing they need is a forced closure due to some Asian-ass virus because some dude in China did an Ozzy Osbourne with an infected bat.

I can’t say with certainty that your local venue is doing the same right now (Though if they are I urge you to support in any which way you can) but FUEL ROCK CLUB in Cardiff is one of the clubs that would be incredibly grateful for your support.  The award winning bar/venue situated in Womanby Street in the Welsh capital naturally relies on its punters and gig goers to pay the bills and the wages…but under forced closure, they face difficult times. Luckily, while we may not be currently able to attend the club in person, we can still help and support the club during this testing time, thanks to a new compilation album.

XIII PROMOTIONS
based out of Cardiff have reached out to 30 bands and artists who have played, performed or promoted at the club, to piece together a 30-track compilation entitled “Rock Down: A Fuel Rock Club Benefit Compilation”. Available on Bandcamp as a digital download for £7.50, all proceeds raised will go towards ensuring the club doesn’t fall onto harder times that it’s already been put under, by contributing to venue upkeep etc while they have no custom. It’s a hell of an eclectic compilation, ranging from black and death metal, to punk, post-rock, blues, funk and even electronica, showcasing a plethora of genres represented by multiple scenes, who all support Fuel.  The link to Fuel’s Facebook is below, so if you can, go and buy some Fuel merch through their official channels, and the bandcamp link is also included. My personal favourites include tracks by GLASS HEART and BONDAGE FAIRIES…but there’s literally something for everyone here. Go check it out, it’s for a wholesome cause.

WWW.FACEBOOK.COM/FUELCARDIFF
WWW.XIIIPROMOTIONS.BANDCAMP.COM/RELEASES
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    Gavin J Griffiths, a.k.a GavTheGothicChav, lover of new music and supporter of bands. Inspired by a mixture of horror and comedy, and fueled by a blend of alcohol and sarcasm...if you're a singer / in a band and would like a review written up, please do get in touch via the email address at the top of the page and I'll get back to you ASAP. Much love x

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